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The effects of German gender essenti...

Greene, Kimberly.

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The effects of German gender essentialism on the musical production of nineteenth-century women composers.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The effects of German gender essentialism on the musical production of nineteenth-century women composers./
Author:	Greene, Kimberly.
Description:	291 p.
Notes:	Adviser: Katherine Powers.
Contained By:	Masters Abstracts International46-01.
Subject:	Literature, Germanic. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1445327
ISBN:	9780549109587

The effects of German gender essentialism on the musical production of nineteenth-century women composers.
Greene, Kimberly.

The effects of German gender essentialism on the musical production of nineteenth-century women composers. - 291 p.

Adviser: Katherine Powers.

Thesis (M.A.)--California State University, Fullerton, 2007.

This thesis confronts the inequity between the musical achievement of women composers and their male counterparts in an effort to expose the effects of German gender essentialism on the musical production of women active during the nineteenth century and the socio-cultural restrictions that hindered their aesthetic and musical development. The resulting psychological manifestations of gender-related oppression are chronicled through a discussion of the lives, writings and Lieder of the following exceptional women: Bettine von Arnim (1785--1859), Fanny Mendelssohn Hensel (1805--1847), Johanna Kinkel (1810--1858), Josefine Lang (1815--1880) and Clara Wieck Schumann (1819--1896). The correspondence between the literary and musical realms is offered to substantiate the significance of the literarischer Salon in the aesthetic advancement of women and to demonstrate the propagation of the gender-biased perspectives of feminine identity through important literary works, including Johann von Goethe's (1749--1832) Faust: Der Tragodie erster Teil (Tubingen, 1808), Adelbert von Chamisso's (1781--1831) poetic cycle Frauenliebe und Leben (Berlin, 1830) and the encapsulation of the Rhine legend, the Loreleysage, in the poem "Ich weiss nicht was soll es bedeuten" (1824) by Heinrich Heine (1797--1856). The thesis concludes with a substantial comparative analysis of the characteristics of the hausmusikalische Lied and the Kunstlied and their relationship to "An Thyrsis" (Vienna, 1781) by Franz Joseph Haydn (1739--1809), to Frauenliebe und Leben , op. 42 (Leipzig, 1840) by Robert Schumann (1810--1856) and to the Loreleysage Lieder of Friedrich Silcher (1789--60), Franz Liszt (1811--1886), Fanny Mendelssohn Hensel, Johanna Kinkel and Clara Wieck Schumann.

ISBN: 9780549109587Subjects--Topical Terms:

1019072
Literature, Germanic.

The effects of German gender essentialism on the musical production of nineteenth-century women composers.
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020 $a 9780549109587
035 $a (UMI)AAI1445327
035 $a AAI1445327
040 $a UMI $c UMI
100 1 $a Greene, Kimberly. $3 1269546
245 1 4 $a The effects of German gender essentialism on the musical production of nineteenth-century women composers.
300 $a 291 p.
500 $a Adviser: Katherine Powers.
500 $a Source: Masters Abstracts International, Volume: 46-01, page: 0020.
502 $a Thesis (M.A.)--California State University, Fullerton, 2007.
520 $a This thesis confronts the inequity between the musical achievement of women composers and their male counterparts in an effort to expose the effects of German gender essentialism on the musical production of women active during the nineteenth century and the socio-cultural restrictions that hindered their aesthetic and musical development. The resulting psychological manifestations of gender-related oppression are chronicled through a discussion of the lives, writings and Lieder of the following exceptional women: Bettine von Arnim (1785--1859), Fanny Mendelssohn Hensel (1805--1847), Johanna Kinkel (1810--1858), Josefine Lang (1815--1880) and Clara Wieck Schumann (1819--1896). The correspondence between the literary and musical realms is offered to substantiate the significance of the literarischer Salon in the aesthetic advancement of women and to demonstrate the propagation of the gender-biased perspectives of feminine identity through important literary works, including Johann von Goethe's (1749--1832) Faust: Der Tragodie erster Teil (Tubingen, 1808), Adelbert von Chamisso's (1781--1831) poetic cycle Frauenliebe und Leben (Berlin, 1830) and the encapsulation of the Rhine legend, the Loreleysage, in the poem "Ich weiss nicht was soll es bedeuten" (1824) by Heinrich Heine (1797--1856). The thesis concludes with a substantial comparative analysis of the characteristics of the hausmusikalische Lied and the Kunstlied and their relationship to "An Thyrsis" (Vienna, 1781) by Franz Joseph Haydn (1739--1809), to Frauenliebe und Leben , op. 42 (Leipzig, 1840) by Robert Schumann (1810--1856) and to the Loreleysage Lieder of Friedrich Silcher (1789--60), Franz Liszt (1811--1886), Fanny Mendelssohn Hensel, Johanna Kinkel and Clara Wieck Schumann.
590 $a School code: 6060.
650 4 $a Literature, Germanic. $3 1019072
650 4 $a Music. $3 516178
650 4 $a Women's Studies. $3 1017481
690 $a 0311
690 $a 0413
690 $a 0453
710 2 $a California State University, Fullerton. $3 1017845
773 0 $t Masters Abstracts International $g 46-01.
790 $a 6060
790 1 0 $a Powers, Katherine, $e advisor
791 $a M.A.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1445327